A certain Magister White was employed by Magdalen College, Oxford, in the years 1531, 3 53 2 I 539 I54 2 > n(1 J 545> to repair the organ in the College Chapel. In the 'Parish Choir' (vol. iii. p. 82) Sir William Cope conjectures, on the strength of the title Magister, that this was none other than Kobert White. If so, White would be one of the earliest English organ- builders as well as one of the chief glories of the English school of music. Dr. Blmbault declares in his Preface to the Musical Antiquarian Society's edition of Gibbons's Fantasies (p. 7) that Robert White was the First English musi- cian who adopted the title of Fancies for a col- lection of instrumental compositions, and refers to the Fantasias in the Library of Christ Church, Oxford, in support of this statement. These Fantasias, as already observed, are the work of William White, but the Fantazias in the British Museum seem to make good Dr. Rimbault's statement.

WHITING, GEORGE ELBRIDGE, an eminent American musician, born Sept. 14, 1843, at Hol- liston, near Boston, U.S. His mother had been a fine vocalist during her youth. Two of his brothers adopted music as a profession, and with one of them, Amos, then organist at Springfield, Mass., he began to learn the piano when but 5 years old. At 13 he had attained such skill on the organ as to make his first appearance at a concert in Worcester, Mass. Two years later he

1 Printed by Burney.

2 This anthem is at York ascribed to TTtWtom White ; at Ely, in Mr. Hawkins's handwriting, to "Dr. Matthew White of Xt. Church in Oxford 1611.' But in the Oh. Oh. part-books it is assigned to Robert White, and these books were written about 15S1. An autograph book of Dr. Blow in the Fitzwilliam at Cambridge also attributes It to liolerl White, and I'.arnard prints it as Hob. White, which seems con- clusive. [See SCHOOLS OF COMPOSITION, vol. Hi. p. 272 a.]

3 The books that contained this Anthem are missing.

This Is printed In vol. ii. of Services and Anthems, published by Bums. At York it is ascribed to William, and in another copy to Matthew White. At Ch. Ch. there is no Christian name, but the Tenbury copy ascribes the piece decisively to Maister Whytt, orgt. of Westminster Abbey, temp. 1560.'

s As this is only said to be by 'Mr. White,' it may belong to Mat- thew White.

This is only attributed to 'White.' Another anthem. 'O Lord our liovernor.' in R.C.M. is ascribed to R. W., and probably Robert White is meant.

' See Burney's History, vol. ill. p. 71.

��WHITING. 45a

succeeded Dudley Buck as organist of the North Congregational Church at Hartford, Conn. There he founded the Beethoven Musical Society for church practice. In 1862 he began his Boston career, playing at Dr. Kirk's church, and after- wards at Tremont Temple, and giving concerts on the Music Hall organ, and on many other large organs, and meanwhile studying with G. W. Morgan, organist in New York. In 1863 he visited England to study with Mr. W. T. Best, and while there often deputised for Mr. Best in church. Returning to America he became or- ganist of St. Joseph's Church, Albany, where EMMA LA JEDNESSE, now known as Madame Albani, was a member of his choir. [See vol. ii. p. 85.] After three years he returned to Boston, where he was organist and director of music at King's Chapel for five years, and at the Music Hall for one year. In 1874 he visited Berlin, and studied harmony with Haupt, and orchestration with Radecke. Returning to Boston again, he became principal organ-instructor in the New England Conservatory. He was also organist at the Cathedral of the Holy Cross, and conductor of the Foster Club, Boston. While Mr. Whiting was its director the club sang a number of his compositions, among others a setting of the pro- logue to Longfellow's * Golden Legend,' and the first sketch of a cantata, ' The Tale of the Viking.' In 1879 k- e accepted a call from Theodore Thomas to take charge of the organ department in the College of Music at Cincinnati, of which Thomas was then director. A thousand dollars having been offered by the Musical Festival Association for a cantata, Buck and Whiting competed. Buck offered 'Scenes from Longfellow's Golden Legend,' Mr. Whiting submitted his < Tale of the Viking,' enlarged to a dramatic cantata for three solo voices, chorus, and grand orchestra. The choice fell on Buck, not without considerable difference of opinion outside. In 1882 Mr. Whiting re- turned to Boston and the New England Conser- vatory, where he is now (1886) teacher. He is still young, and it is believed that the world will yet be greatly enriched by his work.

Besides many organ studies and concert pieces, and the large works already mentioned, Mr. Whiting has written a number of songs; a Mass in C minor for voices, orchestra, and organ (performed in 1872) ; a do. in F minor ; a grand Te Deum in C major (written for the opening of the Cathedral in Boston and performed in 1874) ; ' Dream Pictures,' a cantata (performed in 1876) ; several sets of Vespers ; a number of four- part songs ; a piano concerto in D minor ; an Allegro brillant for orchestra; suite for cello and piano, op. 38; overture for orchestra to Tennyson's ' Princess ' ; ' March of the Monks of Bangor,' for male chorus and orchestra, op. 40; 'Free Lances,' for male chorus and military band ; ' Midnight,' cantata for four solo voices and piano solo ; ' Henry of Navarre,' ballad for male chorus and orchestra. Many of these pieces have been- performed in public. Mr. Whiting was last employed on a symphony in C, and suite for orchestra in E [W.H.D.]